CANADIAN CANADA $7 FALL 2015 VOL.18, NO.1 SCREENWRITER FILM | TELEVISION | RADIO | DIGITAL MEDIA

Not Getting Lost In Translation Is Key In Adapting Quebec Shows

Sci-Fi: Not Just For Nerdy Guys Anymore

Games And How To Script Them

Dennis Heaton: Fired Up Over Motive PM40011669 please indicate Your You be the choice of categorY: ★Children★ ★doCumentary★ ★Judge★ ★movies & miniseries★ ★shorts & Webseries★ ★tv Comedy★ experienced screenwriters ★tv drama★ ★tWeens & teens★ needed as volunteer Judges Judges must be WGC members, th and may only judge categories in for the 20 annual which they are not entered. wgc screenwriting To apply, email [email protected] WiTh The subJeCT: awards “WGC aWards JudGe s .”

CANADIAN SCREENWRITERS ARE… Writing Writing what WRITING what

SUCCESS Canada SELLS ON ALL SCREENS Watches Internationally Telling Canadian stories… to the World.

Writers Guild of Canada www.wgc.ca CANADIAN SCREENWRITER The journal of the Writers Guild of Canada Vol. 18 No. 1 Fall 2015

Contents

ISSN 1481-6253 Features Publication Mail Agreement Number Dennis Heaton: On Fire For Motive 6 400-11669 Writing and showrunning one of television’s Publisher Maureen Parker freshest takes on police procedurals has attracted Editor Tom Villemaire attention to the series and the team that creates it. [email protected] How do they do it? Director of Communications Li Robbins By Diane Wild Editorial Advisory Board Denis McGrath (Chair) Sci-Fi Suddenly Mainstream 12 Michael MacLennan Once the domain of guys, sci-fi and fantasy is now Susin Nielsen out of the television version of a ghetto and riding a Simon Racioppa star-cruiser down main street and it’s not just guys President Jill Golick (Central) who are watching and paying attention. Councillors By Katherine Brodsky Michael Amo (Atlantic) Mark Ellis (Central) Writing For The Console And Dennis Heaton (Pacific) Computer Game Market 16 Denis McGrath (Central) Screenwriters are finding a whole new area to put Anne-Marie Perrotta (Quebec) Andrew Wreggitt (Western) their talents to use and for some, it’s not only profitable, it’s also creatively satisfying. Art Direction Studio Ours By Matthew Hays Design Studio Ours Printing Ironstone Media Not Losing Something In Translation 20 Cover Photo: Christina Gapic Adapting shows from a different culture and language Canadian Screenwriter is requires a deft touch and an understanding of both sides published three times a year by of the equation in order to keep what works and make it the Writers Guild of Canada (WGC). relevant to a new audience. 366 Adelaide Street West, Suite 401 By Mark Dillon Toronto, Ontario M5V 1R9 TEL: (416) 979-7907 FAX: (416) 979-9273 WEBSITE: www.wgc.ca W-Files Subscriptions: WGC members receive a Amy Cole — By Cameron Archer 25 subscription as part of their membership. Andrew De Angelis — By Kendra Wong 27 Non-member subscriptions: $20 for three issues. Advertising policy: Readers should not Columns assume that any products or services From the Editor/Contributors 2 advertised in Canadian Screenwriter are Inside/Out — Michael Amo 3 endorsed by the WGC. “Oh Great Scribe...” — Advice for Editorial Policy: The WGC neither implicitly nor explicitly endorses opinions or attitudes the Scriptlorn 32 expressed in Canadian Screenwriter. Submissions are subject to editing for News length, style and content. Beat Sheet 4 Advertising Sales: Spotlight 28 Visit www.wgc.ca or contact Li Robbins at [email protected] New Members 30 Letters to the editor are subject to editing Money for Missing Writers 31 for length. Not all letters are published. FROM THE EDITOR CONTRIBUTORS

When A Spring 2015 Relationship Ends

Michael Amo has written Gem- ini-nominated TV movies. He also created the The Listener. In this issue, one of the things we look at is the challenge of adapting Presently, he’s developing a shows written for one culture to another. Say, a French-language project with Sony Pictures Tele- Quebec television series to a series for an English audience. What are vision. He lives with his family in the professional challenges there? We also look at a slightly similar situation, that of writers or showrunners being swapped in to a show Nova Scotia. to augment or replace other writers and/or showrunners. What are the professional and emotional challenges to that scenario? Cameron Archer runs the There are a few reasons a series might be handed off to a new or Canadian television/media partly new story department. website Gloryosky (http://www. “It’s not you; it’s me” — The broadcaster, that is essentially sweetposer.com/), and is also a paying for the series, has a different “vision” than the showrunner. It’s not necessarily a better vision. It’s not necessarily a more freelance arts writer. He currently commercial vision (although that is more likely). It’s just a matter of a lives in Eastern Ontario. “different” vision. Then there is the, “No, actually, it is you” — a matter of A freelance arts and entertain- personalities. That situation is more like a marriage that seems like a ment writer, Katherine Brodsky great idea at the start and then one person starts complaining about has written for , the way the other flosses their teeth while they wander around the Variety Enter- house. Notes start getting passed that are no longer romantic or tainment Weekly, USA Weekend, funny but curt and sometimes cruel. Mashable, Elle Canada, MovieMak- Sometimes it’s for a happy reason —­ the showrunner or head er Magazine, The Independent, writer is moving on to bigger and better things (maybe even for the Stage Directions, and many oth- same broadcaster). ers. She has interviewed a diverse Other times it’s more like an amicable divorce, where the two range of intriguing personalities, parties separate and realize it’s not a failure on either side — they can still be friends, but they just don’t work well together. including Oscar, Emmy, Grammy, And sometimes it’s not happy at all. I mean, what does she see in Tony, and Pulitzer winners. In her him anyway? spare time she wears sunglasses So you watch your show that someone else has taken over and at night and runs her own cult, try to be objective. I mean, maybe some people like that sort of thing. Katherineology. Follow her on You try really hard not to point out to your friends when Twitter @mysteriouskat something doesn’t work on the show. And your friends, while supportive, tell you it’s time to move on. But you have, right? I mean maybe you miss the show, but Mark Dillon is a Toronto-based seriously, you’re way happier now. freelance journalist and former Look at all the other shows that have had successful transitions editor of Playback magazine. He under new writers and showrunners. And the people who left those is author of the award-winning shows turned out ok, right? All relationships improve us. Even if it’s only to make us a little Fifty Sides of The Beach Boys. tougher, like scar tissue on a prize fighter. The next one is always at least a little better. Every step you take makes you a little stronger Matthew Hays is a Montre- and gets you closer to your goal. Sometimes the goal isn’t always in al-based writer, author, and the direction you first set off, but it’s always where you end up. university and college instruc- Yeah. You’re fine and if they can’t deal with your art, your vision, tor. His articles have appeared that’s their problem. You’re moving on down the road. in The Globe and Mail, The New York Times, The Guardian, Vice, — Tom Villemaire Maclean’s, The Walrus, Cineaste, INSIDE/OUT Time To Start A Fire

POV, and The Toronto Star. He teaches courses in film studies at Michael Amo is the WGC councillor for the Marianopolis College and Concor- Atlantic region dia University. His book, The View from Here: Conversations with A chill has fallen on Nova Scotia’s film and TV industry that’s got (Ar- Gay and Lesbian Filmmakers nothing to do with the autumnal equinox. The mercury dropped senal Pulp), won a 2008 Lambda in the spring, when our deficit-fighting provincial finance minister Literary Award and he received broke a Liberal election promise by announcing that our labour tax the Concordia President’s Award credit program was up for review. Things got positively polar on for Teaching Excellence for 2013- July 1, when the Liberals killed the credit and introduced their new 14. incentive program. They insist it will all work out just dandy — once the kinks get worked out. This is cold comfort — particularly after the disastrous After completing a commercial three months we just had. What should have been a red-hot arts program in college, specif- summer thanks to the weak dollar turned out to be a near-total ically taken for developing his bust with production fleeing to more welcoming jurisdictions. photography, Jeff Weddell be- Almost everyone I talk to seems to be contemplating exit gan working as a photographer strategies. Plenty have already left. The longer they’re gone, the more likely it is they won’t return. over 30 years ago, covering all I see the same freeze-out happening right across Canada as aspects of the field, from com- networks here try to cope with shrinking revenue. When it comes mercial, advertising, corporate to original content, their strategy seems to be “Let’s do what we’ve portraiture and fine arts. Jeff also always done — only less.” works in film and television cap- The drastic drop in opportunity means we either move to turing production stills, as well as L.A. or stay in Canada but sell our shows to American networks first. After all, why bother pitching anything here if a series order is gallery portraits for networks and contingent on U.S. financing? studios from around the globe. Kind of like those White Walkers in Game of Thrones, winter is definitely coming for our broadcasters. Cord cutting. Netflix. A new Diane Wild is a Vancouver- generation who has no time for traditional appointment television. based writer and editor who So maybe, instead of trying to save a few bucks by turning runs the TV, eh? website down the thermostat, our politicians and networks should start a fire by creating an environment that encourages hiring Canadian (www.tv-eh.com) about writers to create more original programming. Before the lights go Canadian television. out for good.

Kendra Wong is a journalist in — Michael Amo Victoria, B.C. She has a bach- elor of arts from Simon Fraser In the last edition of Canadian Screenwriter Shelley Hoffman University and a certificate in was incorrectly identified as Shirley Hoffman in the article “To journalism from Langara College. Banff Or Not To Banff.” She has worked at newspapers in the Lower Mainland including In “How Will You Leave Your Audience,” an obituary for John Hunter, credits for Hungry Hills and Curtains for Roy were , the Metro Vancouver Tri-Cities reversed. Gary Fisher wrote the screenplay Hungry Hills; Aaron NOW and the Smithers Interior Bushkowsky wrote the novel Curtains for Roy. News in northern B.C. She cur- Canadian Screenwriter apologizes for any confusion this may rently works as a reporter with have caused. the Victoria News.

BEAT SHEET

The WGC Policy Decoder

no transmission and distribution infrastructure. It utilizes already existing systems. That’s why the WGC continues to lobby in Ottawa for meaningful recognition of the digital revolution and how it affects the screenwriting industry (a.k.a. a national digital strategy), and for regulation of OTT.

It’s (Almost) a Wrap

The WGC is moving into the last Some relish discussions about session of the Bell Media Diverse exhibition requirements, bodies (such as the Canada Media Screenwriters program, with simultaneous substitution, Fund) that help to make Canadian its final one week “bootcamp” and documents beginning with shows. Yes, Netflix has partnered taking place in Jan. 2016. There words like “application” and with Canadian broadcasters on was an overwhelming response “amendments.” Others, not so a couple of instances of original from applicants — eighty much. If you’re in the latter programing. And yes, the WGC hopefuls for the eight available category, the “WGC Policy is very pleased for the writers spots. Decoder” is for you. Each issue of those shows! But that’s ad Since 2010, the program has of Canadian Screenwriter will hoc program creation. Without helped emerging and mid-career include a “policy decoder,” some form of regulation to create writers sharpen their skills and breaking down issues that matter a balanced, ongoing system, gain key contacts in the Canadian to screenwriters. This edition original Canadian programing television industry. To date, the decodes “OTT.” could simply dry up. It’s not that program has graduated 70-some the WGC suggests OTT should be writers, and nine participants What’s the Big Idea: Over the Top regulated exactly the same way have received paid internships in (OTT) services (such as Netflix, traditional broadcasters have been the writers’ rooms of television Shomi, Crave etc.) transmit regulated. After all, OTT is not series including 19-2, Bitten, The content — a.k.a. television shows traditional broadcasting, being on- Code, Degrassi, The Listener, — over the internet. And, in demand, non-linear etc. But there Motive, Mr. D., and Saving Hope. Canada, they are exempted from needs to be a new way of dealing The newest internship winner, regulation. with OTT, because we don’t, and Romeo Candido, will head to a you don’t, want to lose the voice room (TBA) in 2016. Why Care: OTT services have no of Canadian screenwriters living Many thanks to the most re- Canadian content requirements. here at home in Canada. cent squad of WGC screenwriters In other words, no requirements who mentored program partic- to exhibit or produce Canadian Where’s It Going: At press ipants: David Barlow, Richard programs. And some companies, time, sad to say, nowhere. The Clark, Jennifer Cowan, Mark such as Netflix, aren’t connected Conservative government made Farrell, Karen Hill, Marvin Kaye, in any way to the Canadian it clear that it was not about to Jonathan Lloyd Walker, and Kar- television system. It could, should regulate OTT. The CRTC said en Walton. And thanks to ALL of its executives choose to do so, it’s not touching it. It’s also the WGC members who have giv- provide 100% American content an unpopular idea with the en so much to new generations of all the day long. Even though public, many of whom do not writers over the past five years of the Broadcasting Act does cover understand the intricacies of the program, including our most OTT, the CRTC has exempted it funding Canadian production, recent internship jurors: Debo- from the kinds of regulations that and simply appreciate a service rah Nathan, Skander Halim, and traditional broadcasters have. that is inexpensive. People may Steve Lucas. We look forward to That means OTT services do not not realize that part of that cheap working with more of our mem- contribute to Canadian funding price tag is because Netflix has bers in this final round. OURS ILLUSTRATION:

4 Left: Kyle Muir, Doug Hadders, Amy Benham, Nicole Demerse, Ben Joseph at Writing Kids TV: A Bold New World of Opportunities; Right: Chloe van Keeken, Rachael Schaefer, Jordan Clark, and Jason Leaver, at Dance Driven Drama: Writing the Next Step.

Watch and Listen: industry at this year’s Toronto new categories are as follows: Fan Expo Panels and Vancouver International Children, Documentary, Movies Film Festival industry and Miniseries, Shorts and For the fifth straight year, WGC conferences. At TIFF, speakers Webseries, TV Comedy, TV members rubbed shoulders with on the So You Think You Want to Drama, Tweens and Teens. cosplayers (and other überfans) Be a Showrunner panel looked Animation is now included across at Fan Expo Canada. Writer- at the “nuances of the creator the board, and animation entries producers Chloe van Keeken and process.” WGC showrunners should be submitted to the Rachael Schaefer discussed their Tassie Cameron (Rookie Blue), appropriate category. The awards unique approach to creating The and Jennifer Holness (Shoot the take place on May 2, 2016, at Next Step, on a panel that included Messenger) were joined by Jake Koerner Hall in Toronto. cast member Jordan Clark, and was Amiel (The Knick), and Sam moderated by writer Jason Leaver. Esmail (Mr. Robot). At VIFF, Writers Talking TV Amy Benham, Nicole Demerse, Simon Davis Barry (Continuum) Doug Hadders, and Kyle Muir was joined by Christopher C. The WGC’s Writers shared insider tips with moderator Rogers (Halt and Catch Fire), Talking TV series — where Ben Joseph at Writing Kids TV: A and Warren Littlefield (Fargo), one screenwriter interviews Bold New World of Opportunities. for a panel called Specific Voices. another in front of a live audience Other WGC members put in a Patricia Rozema was the featured — is going strong. Recent Fan Expo appearance as well, guest at a talk called The Art of editions featured Sunnyside including showrunner Michelle the Arc, and Rachel Langer (This co-showrunner Gary Pearson Lovretta, who joined “Innerspace Life), Raul Inglis (Continuum), and head writer Jan Caruana Live with the Cast of Killjoys,” and and Jennica Harper (Motive), in conversation with Simon Will Wennekers, who shared the spoke about life In the Writers’ Racioppa. Next, The Next Step, spotlight at Adult Swim’s “Fugget Room, with moderator Simon where host Nicole Demerse About It Exclusive Season Three Davis Barry. interviewed showrunner Frank Peek & Cast.” van Keeken. The fall 2015 season Video of the guild’s Fan Expo 20th Annual WGC kicked off with Bruce McCulloch panels are on the WGC’s YouTube Screenwriting Awards interviewed by Matt Watts about channel, and podcasts are available Young Drunk Punk. The WGC at the WGC website. In 2016, the WGC celebrates 20 will be putting on more WTTV years of the WGC Screenwriting events in the months to come. Writers’ Insights Awards, and 25 years of the Keep an eye on the WGC website guild itself. This year, the for updates, and listen to podcasts WGC members shared awards nomination categories of past editions of WTTV on the insights into writing and the have changed slightly, and the website as well.

5 FEATURE

HEAT’S ON

By Diane Wild

With Dennis Heaton at the helm, Motive, CTV’s whydunnit murder mystery is now filming its fourth season. Why are the Motive whydunnits so hot? 7 FEATURE

“I have a dark sense of humour,” says Dennis Heaton over ciders. “I can see the upside of homicide.” It’s not the most comforting declaration coming from the person with the bushy beard sitting across the table, but it is the secret to “I have a dark sense making Motive, CTV’s whydunnit murder mystery now filming its fourth season. of humour, I can Heaton has been a writer on the show since nearly the beginning, becoming co-showrunner see the upside of with James Thorpe (The Dark Corner, Sanctuary) for season two and then doing solo duty for three homicide.” and four. Though he’d had experience through his award winning My Pal Satan webseries, short films, and being Sheri Elwood’s second on Call Me Fitz, the gradual transition — as well as participation in showrunner training programs — flashback, the current killer’s timeline, and the made his coronation as solo showrunner relatively current investigation timeline. These must be comfortable. woven together while ensuring the audience is “Though if you ask Louise [Clark of Lark never ahead of the investigators, and that when Productions, the co-producers], she’d probably say I the timelines coincide in act five the final twist looked like I was about to defuse a bomb,” he joked contains an element of surprise that illuminates of the pressure of having the creative buck stop what came before without making the audience feel with him. He credits constant communication as they were cheated along the way. “You don’t want crucial to the partnership, and a division of labour the audience thinking they were jerked around,” where Heaton would be on set while Thorpe was in says Heaton. the writing room, and vice versa. Plus “you need seven ‘Oh shit’ moments,” he Thorpe, who left the series to return home points out, since the structure is six acts plus to Burbank where he and his wife live, compared a teaser. the intensity and camaraderie of the writers’ room Simple, right? So what was the draw? to being in a MASH unit and describes the co- For Heaton, who for years worked in Nova showrunner partnership with Heaton a luxury; Scotia on Call Me Fitz, the initial appeal was the it was great to have “someone to share the load, opportunity to work in Vancouver, where he and someone you can trust to have your back. It really his wife make their home. But he now considers is a daunting task for an individual to take on. He himself the proud adoptive parent of a show he has a great sense of story structure, a great sense of didn’t birth but chose to raise as his own. character, and his dialogue sings. He has a facility The series stemmed from a pilot script by for working with actors on the floor and aside Daniel Cerone (Dexter, The Mentalist) that had from all that, he’s just fun to be around. He has a been kicking around for over a decade, generating fantastic sense of humour, I trust him completely buzz but no network bites. “Broadcasters were and we had a good time,” says Thorpe. “Dennis and concerned you couldn’t keep the gag going in a I gave each other free reign off the top. We’d already series, episode after episode,” says Thorpe. “I gone through season one together, so we knew the was instantly attracted to the material. Daniel is beast we were trying to tame.” a fantastic writer, and I’ve always been a fan of Leaving the series was difficult — “it felt like I the mystery genre and the Columbo model where was giving up on a baby” — but Thorpe now enjoys the game is more cat and mouse rather than pure being a pure fan of what adoptive father Heaton procedural.” and his small writing team put together each week, He told the producers, Foundation Features, without experiencing the sweat of the “100 different who brought the script to him, that he could see versions of the story before it got to where it is.” 100 episodes “no problem.” So they had him put his The series’ deceptively simple premise — writing where his mouth was. After submitting a reveal the killer in the teaser and then slowly series bible and a second episode to go along with a unravel why the murder was committed — belies newly Vancouverized pilot, they got a quick green an intricate structure. Each episode contains light from CTV. “I figured all we needed was a team

four timelines: the killer’s flashback, the victim’s of crack writers to nail this down.” WEDDELL JEFF SPREADINTRO PHOTO:

8 Canadian history is engaging television with CBC’s X Company.

From left: Sarah Dodd, Matt MacLennan, Dennis Heaton, Damon Vignale, Jennica Harper, Julie Puckrin PHOTO: JEFF WEDDELL JEFF PHOTO:

9 FEATURE

Heaton with Motive director Sturla Gunnarsson

Heaton was part of that crack team and recalls killer through revenge. In order for revenge to be a the early days of the season one writers’ room as motive, the killer has to be traumatized and has to being full of great ideas: “And many times we’d end have faith in a justice system that fails them.” up saying if we didn’t reveal who the f---ing killer Thorpe says the killers can’t simply be was in the opening scene, this would be a great psychotic — “they’re average people we can relate episode of television.” to who are pushed to the brink in that moment” — “The format requires a subversion of the and notes personal arcs for the main cast offer both standard procedural,” he says. He’d worked on another complication and another opportunity for procedurals before — Blood Ties and The Listener rich characterizations. — but Motive was his first without a supernatural The structural challenges of the series bent. And even then, he found himself on a aren’t so much limiting as the starting point for procedural that “can’t rest on the standard tropes innovative ideas. “There’s a difference between of the medium.” a formula and format,” says Heaton, who cites Because the motive is the key to each episode, the Coen brothers and Elmore Leonard as huge the reason for the killing must be relatable, evoking influences. “Motive has a very structured set-up empathy if not sympathy in the audience. Thorpe and very defined parameters. But within that, we’re calls each episode an in-depth character study, always looking to tell stories in a different way.” making the roles sought-after guest spots. “We’re What if the killer is working on flawed obsessed with making sure the killer’s compelling,” information? What if the writers play with the says Heaton. “You rarely have a truly sympathetic investigation timeline? What if they invert the killer WEDDELL JEFF PHOTO:

10 “You always have your benchmarks and you hit that, and then you decide what the next benchmark will be”

and the victim? What if the dark humour comes gig in Canada” continues to be a source of pride from the post-rage realization that now the messy for both men. Heaton has his head down as season crime scene cleanup begins, (a logistical nightmare four films, but acknowledges his next logical career Heaton jokes is what would prevent him from acting step would be to showrun his own baby, a series on any homicidal impulses)? And what looked like a he creates. bad idea in week one has a way of coming back and “You always have your benchmarks and morphing into something that works in week seven. you hit that, and then you decide what the next Heaton talks about seasons and episodes benchmark will be,” he says, agreeing that’s in terms of themes — season four he describes as both a recipe for success and for persistent “putting your best foot forward” — but thinks of dissatisfaction. “Maybe it’s how I maintain a level those discussions as cohesion for the writers more of angst. I think writers tend to measure ourselves than the audience. “An episode theme might be what based on how long from when you finish a job to doesn’t kill you makes you stronger, but whether panic about the next job.” that remains the theme by the end is the question. He started his career producing animation, Sometimes one of the storylines will be the dark then started writing animation, then moved to negative of that theme, proving its opposite.” writing live action and finally showrunning. He And then there are network notes. credits his producer’s mentality with preventing Motive’s story pitches to the network end him from being too precious about his words and up around five pages instead of the usual one, understanding the pressures of the production because there’s so little room for hand waving process — skills necessary for showrunning. He or restructuring just part of the plot in response also credits the calm and talented presence of to notes. “When one thread is pulled, the entire Sarah Dodd, his own second in the writers’ room, sweater unravels,” Heaton says. Thorpe likens it to for helping shoulder the burden. a “Jenga tower of complications.” Despite Heaton’s appreciation of the merits of The first two seasons aired on ABC as well, homicide, Thorpe saw in him the same nurturing leading to two sets of opinions that had to be qualities he himself valued in showrunning, as reconciled. And — pick your metaphor — sometimes they managed a group of writers, over the years, the story does unravel, or the tower collapses, that has included Dodd, Daegan Fryklind, Wil and the writers start over. When ABC picked up Zmak, Katherine Collins, Thomas Pound, Julie the series, Thorpe remembers “great celebration Puckrin and Derek Schreyer. “We were blessed and copious amounts of alcohol” in the writers’ with such talented writers. Everyone was confident room. He’d left before ABC dropped it from their they would be heard, there’s no fear, no bullshit, schedule, but bets there were equally copious no hidden agenda, and we can create something amounts of alcohol then for different reasons. we’re all proud of. When you give people that sort Still, CTV has stuck with the show for two of environment they really do flourish and give you more seasons and the show Thorpe called “the best their best.”

11 FEATURE HOW WOMEN SAVED SCI-FI (SORT OF)

By Katherine Brodsky

Hannah John-Kamen in Killjoys

Not that long ago, sci-fi and fantasy series were relegated to the “ghetto” of Canadian television programming, looked down upon by networks and writers alike, recalls Michelle Lovretta. “As a fan, I Canada are doing very well as genre and are getting never understood that and didn’t quite get the memo at more support from home — with more and more first,” she says. writers ‘coming out’ as genre writers and proud of it. It’s probably a good thing or else she might not But that has really been a 180 from when I started.” have gone on to create the popular fantasy series Lost So what accounts for the flip? According to Girl, and, now, Killjoys. “It’s this really weird dichotomy Lovretta, things happen in cycles. “We happen that has now flipped,” she explains. “Many shows in to be in a cycle right now that is really embracing SYFY.COM PHOTO:

12 everybody’s inner nerd.” That, and the popularity around pitching Lost Girl, Alan Ball had just created of video games and cosplay. True Blood for HBO. A serious, Academy-Award “One of the shifts that has happened in the winner doing a vampire show on a premium network last five years is the explosion of cosplay,” says was unheard of. “He kind of blew our minds,” recalls Mark Askwith, long-time SPACE special projects Lovretta, “That gave people permission [to do genre].” producer. “Cosplay has pointed out that ‘real But the real explosion in sci-fi has been sparked people’ of different backgrounds and ages are by the inclusion of women, argues Askwith, who notes interested in sci-fi.” Coplaying involves dressing women now account for at least half of the audience – if as a character in a story, television series, movie not more. “I think that science fiction has always led or even computer game. Cosplayers are a large the way with strong female characters,” he says. There attraction at events like comicons. was always a place for women, agrees Lovretta, because In the late 1970s, audiences for sci-fi were genre has always been about playing with what could largely university-educated males with a passion be, not just what is. “I think that women are having an for engineering, unlikely to see themselves as ‘fans’ increasing impact and that sort of changes the skin or sport a Star Trek uniform to a convention. Today, of the show and the stories that are told,” she says. “I says Askwith, we’re at a critical mass; creators think things are becoming a little more accessible to a enjoy working with fans to build new universes. “To broader audience … there’s more variety in story [and me, that is the golden age of sci-fi on television,” characters]”. he says. “We’ve never had anything like it, it’s As TV grows up, says Mallozzi, “it does a better incredible.” job of reflecting society.” Last time he checked, With an audience in place, networks are taking women made up approximately fifty percent of that more of a chance on sci-fi. “Sci-fi audiences are the society. Even 15 years ago, with SG-1, the audience was most passionate and fiercely loyal, so they want to predominantly women. tap into that market,” says Stargate and Dark Matter Women as national leaders or captains of ships co-creator Joseph Mallozzi. “It’s very nice to see.” may have been exotic novelties in sci-fi originally, but For a time, says Mallozzi, there was a trend over time they opened up how we tell stories. “It’s not to get away from space — in the sense of hard sci-fi about who’s at the helm, it’s where the journey takes outer space — and rather into the space that’s around you,” says Lovretta. us. “They tried to put sci-fi out there in a way that Not only have sci-fi and fantasy gained was more palatable for a general audience,” he says. popularity, they’ve seen an evolution of sorts as But lately the attitude has shifted to, “You know well. Shows that were more episodic and concept- what? Sci-fi is sci-fi — let’s embrace it.” focused have become increasingly character driven 2015 in particular, according to Askwith, saw and serialized. “Not too long ago, you couldn’t sell the return of shows set in space with series like serialized shows to anybody and now it’s what Killjoys and Dark Matter. everybody seems to want,” says Dark Matter co-creator There’s a real appetite for those kinds of stories. Paul Mullie, who also worked on Stargate. “It’s much Lovretta refers to it as “intellectual tourism.” Whether more popular than it used to be.” The cable sensibility it’s exploring the world of Game of Thrones or boarding has changed. a spaceship on Killjoys, there seems to be, more than It’s hard to pin-point the exact reason as to ever, a desire to escape. “And we provide that for why Canada seems to be doing so well within genre people,” says Lovretta. television as of late, but it’s safe to assume that it may But does it really bode well for our world that we have something to do with all the years of catering to want to leave it so badly? Lovretta laughs: “Well maybe big Hollywood productions and series like The X-Files it’s optimism. Maybe they are saying, ‘Let’s see where where crews got a chance to soak up specialized else we can go. But there’s that appetite for fantasy knowledge — ranging from knocking out a sword right now no matter what form it comes in.” or a monster mask to writing and directing. Then We are purging the things of our youth, says there’s the great infrastructures, tax credits, and the Lovretta: “There seem to be a lot of those superheroes favourable value of the Canadian dollar. again that we liked when we were ten and zombies Another key factor that has fuelled the rise of which scared us when we were 12. You can say, yes, science fiction is Canada’s booming VFX industry, people are running (from something) that’s quite dark, decreased costs of special effects, and overall or you can say that there’s almost this sort of innocence technological progress. That impact is significant. to it, people just trying to reclaim some of that.” “Visual effects have changed how we can tell But, says Lovretta, a large part of the rise in genre stories quite a bit,” says Mullie. “The ability to do content is also due to the writers. When she was going more, cheaper, has probably opened up a lot more

13 FEATURE

storytelling avenues that weren’t around in a way starters, it is prohibitively expensive to build a ship, so that would have been considered acceptable or of you’d need a 13-episode order from the get-go, to do it. broadcast quality.” Previously, it was prohibitively “There are a lot of challenges that a lot of people just difficult to produce much of the comic book and genre don’t want to bother with,” says Mullie. “I like to have end of sci-fi, which meant that advances in VFX also a mix [of genres] and I think there’s a place for flying opened a lot of doors into different ways of telling a through space as part of the science fiction lexicon; I story. “People began to expect a lot more from that think that science fiction fans will always want that.” kind of storytelling and [creators and networks] Neither Mallozzi nor Mullie, of course, are noticed there was a demand for it and started to cater strangers to ship shows, having Stargate run in some to that demand.” reincarnation or other for 17 seasons. “We’ve been For their new series, Dark Matter, Mallozzi and doing sci-fi for so long that we’ve built an audience Mullie took a slightly different approach by creating and a lot of that audience has followed us on to Dark a graphic novel first. “A graphic novel is essentially Matter,” says Mallozzi. And they’ve learned some a storyboard,” says Mullie. “You never know how things along the way. For starters, the key is to people are going to read a script; they might not see produce on the page in order to avoid surprises. “You or imagine it as you do, whereas with a graphic novel, write to what you know you can do,” explains Mullie. it’s all laid out.” It was a great tool for selling the show. At the same time, “we were pushing the boundaries “When we did sell it, the note was: ‘Make it like the of what we could do on the money that we had, but graphic novel and it will be great.’” we were always mindful of it.” You can do a lot on It was a helpful tool to have, particularly for a a budget that isn’t huge, so long as everything is ship show since producing a pilot isn’t exactly a viable planned in advance: “You do it that way and you can option — something that may explain the shortage actually put most of the money on the screen.” Where of shows set in space. It’s one thing to set a sci-fi it belongs. show within a contemporary setting on earth, and To Mullie and the crews who worked for an entirely different ordeal to put it out in space. For years on Stargate, it was a tremendous learning

14 From left: Michelle Lovretta; Mark Askwith; Paul Mullie; Joseph Mallozzi

experience. “We just did so many different things other.” Any story you’ve seen before can become and I’ve learned how all of that was done.” They shot original if you have a fresh character making their under water, flooded sets, used green screen and way through it. prosthetics, set off massive explosions, created 2D But as everyone knows, there are no limits in characters, and unleashed incredible stunts. “We sci-fi or fantasy. You can boldly go where no man or had our stunt guy jump off of a 60-foot tower into the woman has gone before. If the budget lets you, that water once,” muses Mullie. “So you learned what you is. “You get great ideas and then you have to come could and couldn’t do. There is no other show where down to earth — that is a challenge,” points out I could have learned all of those things in that time; Lovretta. “[But] the job of a genre writer is not to say there was just nothing else like that out there, so it ‘why not’ or ‘it can’t be’ — it’s how CAN we tell this was amazing.” story, how can we make it enjoyable?” The more you do, the more you’re capable of For her, coming up with the basic universe and doing, explains Mullie. “It’s kind of a snowball effect, rules are like “candy” and one of the joys of sci-fi and especially with crews.” fantasy is that, under the surface, you sometimes get Another lesson that Mallozzi brought over to discuss other things, too. from Stargate was that you have to have a sense “I think it’s a great approach to storytelling of humour. “I find that the humour goes such a because when you’re dealing with metaphors long way towards humanizing the characters and you can tackle all kinds of issues that you can’t helping viewers to connect with them,” he says. “You necessarily tackle in mainstream television,” sell a show and it’s all about the hook and they’ll says Askwith. tune in for the hook, but the audiences stay for the The shift towards genre represents “the characters and their interrelations; these are the perfect storm of events” for Lovretta. “As long as core and the heart of any show.” these things are drawing eyeballs and making money Mullie agrees: “What makes the story unique for the people who make them, it’s a trend that will is the characters and how they interact with each hopefully continue,” she says.

15 FEATURE

GAME ON

By Matthew Hays

While film and TV writing can seem precarious, many writers are turning to writing games, a booming industry

As if readers of this publication needed any more If the dialogue is off, even for a moment, that could reminders, writing is a precarious business. And while throw someone off. I obsessively check everything out, further cuts at the CBC don’t bode well for TV and that every bit of dialogue seems real.” film continues to be dodgy (see Simon Houpt’s piece, And with game writing, writers have to be published in The Globe & Mail, July 20, 2015, “CBC keenly aware of where they are on the food chain. “A urged to find new funding models”), there is a sector TV writer is a prominent position. Game writers are that is growing — rapidly. more of a face in a crowd. Coders are king, designers For Matt MacLennan, the shift came after are important, writers are even lower on the ladder,” years of writing for theatre, film, and TV. “I was MacLennan says. curious, and would just cruise the boards of the “What a writer ends up doing could be very game studios,” he recalls. “I was into Dungeons and different from what they had originally envisioned,” Dragons. I hit up people in the industry, just to see warns Morgan. “You take your barking orders and what interest there was.” run with them. You’re writing in a team-based At first, game writers say the task may seem environment.” daunting. And it is, as successful game writers Part of the excitement of game writing, says confirm, an entirely different beast in terms of what’s Morgan, is also one of its primary challenges. “You required and what the expectations for the job are. can see all of these different possibilities play out, “TV or film writing is generally linear,” says Elize and each one will be entirely different. You have so Morgan, who has written a broad range of games, many possible worlds, and some players will explore including Saber’s Edge. “Not everything in a game is all of them. If you’re the only writer on a game, you necessarily going to be found by the player — someone have to write all of it which can be freeing, but it’s could get lost in the middle. With TV, you’re assuming also a lot of work — you may be writing 150 location people will stay to the end. People generally go from descriptions and 300 weapon designs. For one game I point A to B. In a game, you could go from point A to Z had to write out 300 weapon descriptions. I had to do and then back to B.” it in a week, which was so stressful. I don’t know that “You have to be mindful of your audience in much about pistols from the 1800s.” a different way,” adds MacLennan. “The gamer has “The branching narrative is one of the coolest agency: they’re not watching characters, they are the things for a writer,” says MacLennan. “The writer is characters. There’s a real emotional charge for them. creating a whole new world as they go. The Walking

And you have to try not to disrupt that immersion. Dead game, which was a huge seller, was about a series PHOTO OF MATT MACLENNAN: DELLA ROLLINS DELLA AT ROLLINS PHOTOGRAPHY

16 “Game writers are more of a face in a crowd. Coders are king, designers are important, writers are even lower on the ladder”

Matt MacLennan

“With TV, you’re assuming people will stay to the end. People generally go from point A to B. In a game, you could go from point A to Z and then back to B.”

Elize Morgan FEATURE

“Game writing allows you to think very big, there are such budget restrictions with TV or film. You’re often having to think, ‘We can’t do that – too expensive.’”

Cameron Labine

of quick decisions, big decisions. And if the player like it when I first got into it, but it’s super interesting. paused, the decision was made for them.” I hope traditional stories aren’t going to disappear, The process, says MacLennan, can be obviously, but there’s a huge rise in interest in game “exhausting.” writing, and if people have any interest in games, “I wrote a 1,400-page script for one video game. they should look into it.” You’re building an entire world. If you walk by 30 or Labine says he “can feel the influence the game 40 people in a game who are having conversations, as writing is having on my other writing.” you walk by them, all of those interactions have to be “The next feature film I write, I’d like to make it scripted. Everything needs to be created — which is less linear, and more interactive. Audiences are being so incredible, but so much work. It’s a pretty massive influenced by the reach of games, just as writers are.” undertaking.” And another difference won’t be lost on Morgan says since making the shift into game Canadian writers struggling in the fields of TV writing, she’s been pretty immersed in it. “People and film. “The first game I did at Ubisoft ended up usually want to hire you full-time.” selling huge amounts, like seven million. That’s a For Cameron Labine, however, gaming is lot more people than most indie films are reaching. something he manages to do in between film projects. It was cool to know you’re reaching an audience His second feature, Mountain Men, took its bow at that big. You’re also reaching a huge international TIFF in September; he made the film after spending market,” said Labine. most of 2013 writing a game for Ubisoft. “I think the “Game writing allows you to think very big,” main difference for me is that the writing is done later adds MacLennan. “There are such budget restrictions in the process with gaming. You’re often being asked with TV or film. You’re often having to think, ‘We to find a narrative justification for something that’s can’t do that — too expensive.’ With games, it’s often already been designed — which is the opposite of film the opposite: you can write something that in a film or TV, where the script comes first.” would be hugely costly. You can think along the lines Labine loves it. “I wasn’t sure how much I would of a Michael Bay budget.”

18 But writing the epic games for big companies can also be a drawback, cautions Labine. “In some cases, there is so much money involved, the stakes are very high. You can be asked to make sweeping changes midway through the process. In film and Get connected: TV you couldn’t afford to throw a bunch of stuff away that you’ve already shot. But in games, you can throw away months and months of work. That can the new, be heartbreaking for a writer. So you have to prepare yourself; you may have to let go of a lot of work and not feel too attached to it.” improved All three game writers have the same advice for writers interested in breaking into the game writing market: hit play. “Play as many games as you can,” WGC directory suggests Labine. “Often, writers who come in from film, TV or novels just don’t play a lot of games. They think they can apply their own crafts to it, but writing games really is its own art form. You can learn to For writers, getting connected to possible appreciate games, even if you haven’t played them employers can be one of the most frustrating much before. Now, I play them a lot and it’s improving and lonely tasks. The WGC is now working to my game writing.” significantly upgrade its member directory, with And game writing is covered by the WGC. a redesign adding considerable functionality. “Members should be aware that the Independent The launch of the redesign is timed to coincide Production Agreement covers their writing for games, with the WGC’s 25th anniversary. It will make it too — to their benefit,” says Laurie Channer, director easier for members to publicize their skills, while of industrial relations at the WGC. “It falls under our also making it easier for producers to locate and digital production sector, which is flexible for the game hire them. producer becoming signatory, with negotiable terms “The new directory is being launched for the contract. A game writer can negotiate your fair during a time when writers are facing some pay, get insurance and retirement contributions on turbulence in our industry and we want to provide your fee, and have the protection of the WGC in case of them with every opportunity to promote their a dispute or default.” work and distinct skills,” says Terry Mark, the Writers might want to consider looking into WGC’s assistant executive director, operations, game writing as an option, for the obvious reason and the driving force behind the revamp. that the industry is burgeoning. Games continue to “Producers will find the new directory has sell well, there are many game companies in Canada enhanced search capabilities and some invaluable and any hit show or movie almost always has game time-saving tools like being able to save search tie-ins. “Look at how many people are consuming criteria, short-listing writers they want to employ, games,” notes MacLennan. “And if you look at the and being able to email shortlists to others.” demographics, games are hugely popular with younger These advanced options will be available people. It’s only going to grow.” to members of the WGC and producers who Melissa MacCoubrey, assistant narrative director register on the WGC web site. “We’re also of Ubisoft Quebec, confirms the hiring of game writers expanding the number of fields for writers to fill is expanding. “There’s a lot of growth in the game in for their profiles.This means they can discuss industry,” she says. “There is a fundamental difference in a broader range of talents and experience. We’re writing games and writing TV, film or plays. I would urge going to be promoting the directory with domestic people to play a lot of games so they get an understanding producers but also international ones, so writers of what they are. And not just play, but analyze: what will have greater exposure in and access to writing went into the decisions in writing that game?” in other national markets,” says Mark. MacCoubrey says it’s surprisingly easy to take The revitalized directory will allow writers a trial run at writing your own game. “You can get to upload personal headshots to give their profiles technical experience by downloading Twine, which a more personal and intimate dimension. Stay allows you to write and design a game. There are many tuned for more details! elements that are the same — plot, characters, crazy deadlines — but games really are a world of their own.”

19 FEATURE

L’ADAPTATION

By Mark Dillon

English-Canadian broadcasters want to remake hit Quebec shows, but must accommodate audiences accustomed to American-style TV.

A tenet of the TV biz is that a proven concept is safer grim cancer prognosis. (Torri Higginson takes over than an unproven one. In that spirit, broadcasters are the lead role originated in Quebec by Macha Grenon.) increasingly ordering English-language adaptations Blaimert serves as executive producer and story consul- of popular French shows from Quebec in hopes of tant on This Life and embraces the changes he’s seen. repeating their success in the Rest of Canada. “The point is to go somewhere else with it, Indeed, reimagining its French hits has become because if you want to see Nouvelle adresse you can part of the business model at Montreal’s Sphere Media just watch that,” he says. “I’m trying to share my Plus, which produces both the French and English experiences but also stay detached. Every writer versions of cop drama 19-2 (along with Echo Media) and brings something unique, and I’m open to seeing what is adapting its Radio-Canada drama Nouvelle adresse they are going to do.” for a fall timeslot on CBC under the title This Life. In 2013, Michael MacLennan (Bomb Girls) was But, as witnessed globally, recreating a show brought in to write the bible and first two scripts. Six for another culture can be tricky. In the U.S., Fox more scripts were ordered, involving writers Joseph adapted acclaimed U.K. crime drama Broadchurch as Kay (Living in Your Car), Rachel Langer (The Drive), Gracepoint, bringing over the original writer, director, and Shelley Eriksen (Continuum). The scripts were and star, but it met with low ratings and cancellation. contracted as adaptations until episode seven, at More positively, Showtime’s buzzy political thriller which point they are considered original teleplays. Homeland, transposed from Israeli drama Hatufim, is MacLennan felt certain things that worked heading into its fifth season. in the French version — which draws more than Nouvelle adresse creator Richard Blaimert knows one million viewers — would not work for English- the pitfalls, having adapted his Radio-Canada/Sphere Canadian and international audiences. series Les hauts et les bas de Sophie Paquin (2006-2009) “Nouvelle adresse is more about taking a lens into Sophie for CBC. The pubcaster had Blaimert into the struggle this woman has when she’s hit with reshape the original — a one-hour comedy-drama about cancer, and how it affects her family,” says MacLennan a single mother who runs a talent agency — into a half- from Los Angeles. hour sitcom, a format familiar to English-Canadian “I felt we needed something pivoting more viewers from American TV. It couldn’t match the positively, so it became more about how this woman’s original’s success in its two seasons (2008-2009). death sentence transforms everyone around her for “CBC needed a 30-minute show, which is so the better. It felt like a dolorous trip through cancer different,” Blaimert says from Montreal, where he’s struggles wasn’t going to land where we wanted in an writing season four of Nouvelle adresse. “Sophie was English-speaking marketplace. It was about a slight constructed so you have a ‘straight woman’ surrounded nudge of the theme that ends up changing much of the by crazy characters. In an hour you have the room to storytelling.” make them both funny and touching. In a sitcom, where He adds that the English version has a zippier it’s one punch line after another, you don’t feel that as pace for audiences reared on U.S. shows. “We talked much. The soul of the show was different.” about shifting that up and adding more humour and This Life follows newspaper columnist Natalie visceral energy. We also talked more about a visual style and her family and friends, who must cope with her in the scripting that wasn’t in the original,” he says.

20 Torri Higginson plays Natalie Lawson in This Life, the English adaptation of Nouvelle Adresse

While MacLennan was tailoring the show for a “We knew the translation didn’t make sense, different culture, he also had to address the particular but we didn’t know what else to call it until a week demands of a different broadcaster. For example, CBC before shooting,” Kay adds. Character names were wanted to change the career of Natalie’s sister Maggie Anglicized, so that “Nathalie Lapointe” became (Lauren Lee Smith). In the original, her sibling Magalie “Natalie Lawson.” (Monia Chokri) is an assistant to a fashion designer. Kay has worked closely with Blaimert, “CBC felt that was a slight job for her, and there benefitting from the latter’s hindsight, although was a sense there might not be a lot of story engine nobody feels beholden to the original, and the English there,” MacLennan recalls. “We wanted her to still be version charts its own course in terms of story focus. somebody’s assistant, but with some autonomy. So I “Both shows go to lots of different places because came up with the idea of making her a paralegal, which the ensembles are so big,” Kay notes. “Nouvelle adresse also had the benefit of allowing us to explore the genre goes into a workplace drama in some plots that we of legal storytelling.” don’t do. It has an effect on the tone. Ours are almost In February, after a long period of development entirely personal, emotional stories woven into what’s on This Life, MacLennan accepted the offer to run the happening in people’s lives.” writers’ room on the ABC Family drama The Fosters. He and Blaimert agree that Quebec and the CBC subsequently ordered a 10-episode season of This ROC have distinct senses of humour. The French, Life and assigned Joseph Kay as showrunner. apparently, like it wilder. In Nouvelle adresse, When the series was announced, it bore the title Nathalie’s friend Macha is broadly played by Danielle New Address — a straight translation. But in a sign the Bergeron. She drinks too much, cries rivers, and puts English version eventually found its footing, it soon her abandoning husband’s collectible dish in the got its own moniker. garburator. “We knew we were going to change the title,” “She’s comic relief in the French show, and Kay says. “In the context it’s used in Richard’s show, everybody wanted her to be comic relief in the Nouvelle adresse means something along the lines English, but our version is different,” Kay says. “Some of ‘a clean slate’ or ‘starting over.’” It also references of the same things happen to our character, who’s Nathalie’s profession as a journalist: every column she named Danielle (Rachael Crawford), but it’s toned

PHOTO: CBC.CA writes is a “new address” to her readers. down. She’s not as ‘big.’ We just see funny differently.”

21 FEATURE

Clockwise from top left: Michael MacLennan; Richard Blaimert; Bruce Smith; Joseph Kay.

Keeping it “French” on 19-2 Sphere president Jocelyn Deschênes saw the potential for the English market and brought the idea Bruce Smith is familiar with the process of to CBC. Tom Hastings, the pubcaster’s then-creative deciding what to keep and what to change in a head of drama, subsequently called in native Montrealer French-to-English adaptation. The showrunner Smith (Cracked) to take charge of development. There on Bravo’s 19-2 is in production on the series’ was initially talk of moving the location to Vancouver. third season. “But it was very much of Montreal, so setting it The Radio-Canada original was created by somewhere else would have changed its soul,” Smith actors Claude Legault and Réal Bossé, who star as says. “I thought it would translate well as long as we could flawed Montreal police partners who fight crime on get around the language barrier.” the streets and corruption within their ranks. The To do that, he kept the characters French- series’ three seasons were directed by Podz (a.k.a. Canadian, even though the actors speak English, just Daniel Grou), the de facto showrunner. The gritty as Hollywood World War II movies have German drama went to air in 2011 to critical applause and characters speaking in English so the audience

reported audiences of 1.3 million to 1.5 million. understands them without subtitles. But why not simply PHOTO OF JOSEPH TURCOTTE YAN KAY: ; PHOTO OF BRUCE SMITH: ACADEMY.CACREDITS

22 SERVING AS SERIES “MIDWIFE”

Bruce Smith recalls the challenges of taking over as showrunner on Cracked.

To successfully adapt a show for another territory, a Greater emphasis was placed on guest-star parts showrunner must be allowed to tear down the original in the second season, and reviewers noted a lighter tone, and build something new. But what about when one swifter pace, and more episodic structure. showrunner replaces another on an existing series — “The challenge was to build on the strengths. essentially functioning as a creative midwife? CBC renewed the show, so there were things worth That’s where Bruce Smith found himself a couple renewing,” recalls Smith, currently showrunner on of years ago on the White Pine Pictures/CBC police 19-2. “And yet they brought me in as a new showrunner, procedural Cracked. A writer on the first season, he was so there were things that needed to be changed. Your job promoted to showrunner for season two. (Co-creator is to navigate that and solve whatever the problems are Tracey Forbes and Janet MacLean previously had and not throw out the baby with the bathwater. assumed that role.) The first season drew mild ratings in “It’s a lot like 19-2, because much of the job is the 500,000s. being confident enough not to need to show that you’re This called for somewhat of a reboot. There was smarter than the people you’re replacing or whose work a sense the chemistry wasn’t working between lead you’re adapting — to have the humility to try to make characters Detective Aidan Black (David Sutcliffe) and what they did well keep working.” psychiatrist officer Dr. Daniella Ridley (Stefanie von While the new-look Cracked attracted an Pfetten), and that a new actress would positively shake improved 809,000 viewers to its season two premiere, up storylines. Ridley was written out of the series and the series was cancelled after seven more episodes, replaced by Dr. Clara Malone (Brooke Nevin). attributed to CBC funding cuts.

transform the characters into Anglo Montrealers? including a son, sister, and cousin, so we ended up with a “This was a way to allow viewers outside Montreal very diverse cast,” Smith explains. “And once you’ve cast to experience the French part of the city, which they the part, the part is the actor who’s playing them, and couldn’t otherwise do unless they speak French,” Smith certainly my process is to follow that.” explains. “It’s an opportunity to get rid of that language CBC ultimately passed on the series, but Bravo barrier and focus on universal elements of the story, such scooped it up. Smith had written four scripts in advance as country cop vs. city cop and blue-collar vs. white- and feels the series began moving in its own direction collar, as well as take you into the specific reality of with the fifth. In season two, only two of 10 episodes Montreal.” were labeled adaptations. The show went to pilot with Adrian Holmes Of season three, Smith says, “We’ve really gone a starring as Nick Barron and Jared Keeso as Ben Chartier, different road from the original show, partly because they both of whom are younger than their French equivalents. were wrapping it up and took a deliberate path to end it.” And while Bossé’s Nick is white, Holmes is black, which So Smith wants to keep storylines open in hopes brings a different culture into the mix. 19-2 will outlive its predecessor? His response is an “Nick comes with of a lot of related characters, unequivocal “Absolutely!”

23 ★WRITERS★ STAY TUNED FOR IMPORTANT DEADLINES THE 20TH ANNUAL WGC SCREENWRITING AWARDS MAY 2, 2016 | KOERNER HALL, TORONTO 2016 SPECIAL AWARDS: THE WGC SHOWRUNNER AWARD for excellence in showrunning THE ALEX BARRIS MENTORSHIP AWARD for the critical role of mentor THE SONDRA KELLY AWARD for female screenwriters CALL FOR ENTRIES COMING SOON TO WWW.WGC.CA W-FILES Know Your Target, Know Your Story

By Cameron Archer

s a musician, Amy Cole is a would do or say in a given situation. re-learn at the Canadian Film member of Juno-nominated If you’re living and breathing your Centre before breaking into the Aband Rural Alberta story and are excited by it, I’ve industry? Advantage. Cole first transitioned found excitement is infectious. I knew I wanted to be a TV writer to screenwriting on the first season when I was in high school. I didn’t of Fresh TV’s Grojband, eventually How does your music career with think I would get into Ryerson becoming a story editor for the Rural Alberta Advantage inform University’s Radio and Television third season of Temple Street your television work? What Arts program. I knew it was really Productions’ The Next Step, Family similarities exist between music competitive, and my high school Channel’s current flagship series. writing and screenwriting? didn’t have any courses remotely Cole is now working on the fourth I help write the music on Lost& related to screenwriting or season of The Next Step, and the Found Music Studios, as well production. Somehow I did get in, first season of the spinoff,Lost & as throw in some band-related and that’s where I learned how to Found Music Studios. Both The Next storylines that have more write for television. Rural Alberta Step’s fourth season and Lost & authenticity to them than they Advantage signed to a record label Found Music Studios premiere will otherwise might. It’s fun writing not too long after I graduated, and air on Family sometime in 2016. song lyrics from ‘inside the heads’ of we spent the next several years on characters on L&FMS and Grojband. the road. You worked in public relations I also have input on selecting songs One evening in 2011, we before your screenwriting for The Next Step’s dances in order were in the basement ‘green career. What skills from to help express a theme and/or story room’ of the Beachland Tavern in public relations do you use as point in the show. Cleveland. I came across a friend’s a screenwriter? How does it Being in a band, I’ve learned Facebook post about CFC’s CBC help in marketing your work to how to express ideas clearly and Prime Time Television Program. I prospective television clients? sell them, how and when to shut up wrote my sample scripts from the In one of my first jobs out of school, and listen, and how to take a good road in our tour van, getting my I was hired by a tech start-up to get idea and help make it better. When package in just before deadline. them in papers and on TV with zero everyone in the room is passionate The CFC program doesn’t teach budget. I still use two steps today about making the best thing you how to write, but it simulates when I’m pitching shows: know possible, things can get heated. a writing room and introduces your target, and know your story. Knowing that we all have the same you to pretty much everyone in Do as much research as goal in mind makes it easier to not the industry. Within a couple of possible about the network or die on too many hills. weeks after leaving the CFC, I producer you’re pitching. You had an agent, and I’d optioned a should go into the room knowing all How longstanding was your goal pilot. Without the CFC, I almost the rules in the world of your show, to work in screenwriting? What certainly wouldn’t be in the

PHOTO: VANESSA HEINS VANESSA PHOTO: and exactly what each character disciplines did you learn/possibly industry today.

25 MEMBER ALERT! Unfair Engagers The guild has declared the following engagers “unfair” for failing to abide by grievance procedures or the decision of a joint standing committee. The WGC’s working rules prohibit members from working with unfair engagers. Project1:Layout 1 10/25/12 2:26 PM Page 1 All I Want Productions Inc. Lester Beach Entertainment Principal: Kirk Shaw Principal: Jeff Lester

Battered Productions Inc. Mikisew Keemiwan Productions, Ltd. Principal: Kirk Shaw Principal: Norman Champagne

Christmas Town Productions Inc. Nikolai Productions Principal: Kirk Shaw Principal: Cindy Lamb

FOTP Productions Inc. Norfolk International Ltd. Principal: Richard Rapkowski Principal: William Macadam

Guardian Films Inc./ Numb Productions Inc. En Garge Films Inc. Principal: Kirk Shaw Principal: Kirk Shaw Perfect Stranger Productions Inc. H & S Films Principal: Kirk Shaw Principal: Nicolas Stiliadis Prospero Entertainment Group Inc. Hiding Productions Inc. Principal: John Lambert Principal: Kirk Shaw Richard Lowry Productions Inc. High Seas Rescue Productions Inc. Principal: Richard Lowry Principal: F. Whitman Trecartin She Productions Inc. Ice Planet (1) Canada Ltd. Principal: Kirk Shaw Principal: Philip Jackson Spiritual Productions Inc. Justice Productions Inc. Principal: Kirk Shaw Principal: Kirk Shaw Please Help Us Find These Writers! System ProductionsThe CSCS i sInc.hold ing foreign secondary authors’ levies for writers Kangaroo Court Productions Ltd. Principal: Kirk Shaw Principal: Robin Payne T Man Productionshe Ca nInc.adi an Screenwriters Collection Society (CSCS) is Les Productions les Plus Belles Routes du Monde Inc. Principal: Kirk hShawolding foreign secondary authors’ levies for a number of Principal: Andre Belanger T (not affiliated with Spectra Animation Inc.) Zolar Productionswriters a nInc.d un credited productions. As CSCS does not have a Principal: Kirkcur rShawent address for these writers or the productions do not have complete credit information we have not been able to forward any monies to the entitled writers. The complete list of writers and productions is available on the CSCS website at: Please Help Us Find These Writers! The CSCS is holding foreign secondary authors’ levies for writerswww.wgc.ca/cscs/hot_news/index.html If you have any information that would allow us to contact any of these writers or their agents, or if you are a credited writer The Canadian Screenwriters Collection Society (CSCS) Marisa Kingo natt [email protected] listed production, please contact: is holding foreign secondary authors’ levies for a number or call (416) 979.7907 ext. 5231 or of writers and uncredited productions. As CSCS does not 1.800.567.9974Mari sext.a K i5231.ng at [email protected] or call (416) 979.7907 ext. 5231 or have a current address for these writers or the productions 1.800.567.9974 ext. 5231. do not have complete credit information we have not been Please note that CSCS may require writers to furnish able to forward any monies to the entitled writers. The contracts inPl esupportase no teof ttheirhat Cclaim.SCS mAccordingay requir etow CSCSriters to furnish complete list of writers and productions is available on the regulations,c oifn tara writercts in doessupp onotrt oclaimf the ihisr c loraim her. A cmoniescording to CSCS CSCS website at: within twor eyearsgulat iofon sbeing, if a postedwriter d oones ournot websiteclaim h itheses or h er monies www.wgc.ca/cscs/hot_news/index.html monies revertwith toin 2theye operatingars of bein expensesg posted oofn oCSCS.ur website these monies revert to the operating expenses of CSCS. If you have any information that would allow us to contact any of these writers or their agents, or if you are a credited writer on the listed production, please contact: W-FILES Andrew De Angelis Is Mining Comedy Gold In Sudbury

By Kendra Wong

t seems nothing can stop What was it about the show Letting the drama come in and Andrew De Angelis when he that made you want to push so letting a scene happen with no jokes, I sets his mind. The Canadian hard for it? or a scene or two that are really screenwriter recently picked up The key is we love this show. designed to set up one joke that’s the 2015 WGC Screenwriting We’ve loved it for a long time and coming at the end of the script. Award for TV comedy for his the network did too, otherwise work on the CBC comedy Mr. D they wouldn’t have taken a chance You’ve worked for some big and has worked on shows such on it. It’s an idea that people really shows, what advice would you as Little Mosque on the Prairie gravitated towards. The scripts give to young writers who are and the animated sitcom Fugget were good and really solid. It’s a just learning their chops? About it. Now, the Toronto show worth making. Work on anything you can and also writer has set his sights on work hard. I think a lot of young Sudbury, the location of his Writing comedy is difficult, it’s writers, even current writers, newest show, What Would Sal probably the toughest thing you we’re all doing the job that we love, Do?, airing on Superchannel can do while laughing. What but it’s still a job. People are paying next spring. are some of the key elements to you to do this job. writing good comedy? So first of all, how did you get I think the absolute key is good How are you adapting your a new show in this economic drama. It’s conflict. It’s really writing and story to work with climate? great stories. Comedy is not about the local talent? I think it came from a lot of hard jokes, in my opinion. Jokes are the I thought why not, let’s make it work on the end of myself and last part of it. First, you have to somewhere in Canada and be the producers at New Metric have good characters and stories proud of it. It was about going Media. Really, I think the credit that really work and make sense and getting a sense of Sudbury, goes to them because they and, have really genuine stories seeing it, understanding what pushed and didn’t take no for an with great conflict. they do and learning as much as answer. Also, because they were you can about it. It’s just seeing willing to find ways to do this How are you able to find that everything that’s there and show as economically as possible balance between comedy and finding ways to work that into and we’ve done that. It hasn’t drama? the script. It’s visually quite an been easy — it’s been a challenge, It’s really just allowing for the interesting place. It’s a blue-collar but we’re really making that balance and by that I mean, not town. I could not imagine the dollar stretch. bombarding people with jokes. show being anywhere else.

27 SPOTLIGHT News from WGC Members

Nathaniel Moher is currently Celine LaFreniere’s BreaKAway working as a co-producer/writer is a novel and screenplay set in on the third season of the YTV/ Québec in the late ‘60s. It’s a Netflix seriesSome Assembly story of scarce opportunities for Required. bright young French Québécois like Isabelle and her boyfriend Pierre, and of disaffected youths rebelling at the imperialistic attitude with which the English run their country.

Mark Leiren-Young is underwater. He’s shooting the short The Hundred Year Old Dennis Heaton has returned Whale courtesy of BravoFactual, as showrunner on season four of editing his feature doc The CTV’s hit drama series Motive. His Last Killer Whale: The Legend writing staff includes:Sarah Dodd, and Legacy of Moby Doll, and Matt MacLennan, Damon Vig- polishing his upcoming book nale, Jennica Harper, and Julie on Moby. Puckrin. Emma Campbell was a story ed- Anna Bourque is currently super- itor on Frank van Keeken’s new- vising producer and mentor at The est series, Lost & Found Music Moving Visuals Co. in Singapore, Studios. She also returns to The overseeing six reality and documen- Next Step for its fourth season as tary series (two in Malay!) — with executive story editor. more on the horizon. Adrian Colussi will tour the Ian Barr is currently missing sleep U.S. festival circuit with his as supervising producer/writer on psychological thriller Landmine Writer/Director Mina Shum’s Jen Holness/Sudz Sutherland’s TV Goes Click... (Sarke Studios). Ninth Floor premiered across the series, Shoot the Messenger, a new He wrote and exec-produced country on the festival circuit, political thriller for CBC, having fin- the award winning feature. It from TIFF to VIFF to FNC in ished as consulting producer/writer also screened in N.Y., L.A., and Montreal. She’s preparing her on Mosaic Entertainment’s APTN Austen, before release through next feature, Meditation Park, to sitcom Delmer and Marta. Gravitas Ventures in November. shoot late spring 2016.

28 wrote, The Wasting, in November. Guru Studios and Netflix while Following two years on CTV’S writing the 16th Captain Awesome Motive, Thomas Pound is book for Simon & Schuster. He’s currently developing two original also waiting for the greenlight series with Shaw and Bell Media. on one or two or three shows in development because that’s the Matt MacLennan returned to his job description... fall gig as writer/producer on ABC/ CTV’s murder cop procedural, Louise Moon is writing for Motive, for its fourth season. Nelvana’s new animated preschool series, Ranger Rob. Jude Klassen’s debut feature, the “enviromantic” musical com- edy, Love in the Sixth, is having its world premiere at the Whistler Film Festival. Written, produced, Josh Sager & Jerome Simpson directed by and starring Klassen, are story editing the digital it looks at love and activist kids shorts for animated comedy The in the “sixth extinction.” Bagel and Becky Show. They’re also writing a feature comedy Garner Haines is crowdfunding about someone who faces an a proof of concept, a short version uphill battle, tentatively titled of his pilot script for a science working title. fiction television series called The Time Is Right. If all goes well Johanna Stein was nominated he’ll be shooting the short in for a Primetime Emmy for Out- November in Vancouver. standing Short-Format Animated Program for Wander Over Yonder, Donald Martin has optioned the on which she was a staff writer. coming-of-age novel Bear Season, written by Bernie Hafeli, and is Atlantic screenwriter, C.R. Bruce, The feature documentary Pistons, now in development with Davis turned his most popular yet Passions, Pleasures: A Sicilian Entertainment (Fox) to adapt it unproduced screenplay, Stalled, Dream, written by Carolyn as a feature film. into a novel. A high school reunion Saunders, premiered at theatres comedy set primarily in the men’s in the U.K. in October. Carolyn Tom Mason is writing and bathroom, Stalled is now available also directs the feature horror she consulting on a new series from wherever eBooks are sold.

29 MEMBERSHIP, APRIL 15, 2015 - SEPTEMBER 30, 2015

Welcome

Tara Armstrong Victoria BC Bethany Kaster Toronto ON Kacey Arnold West Hollywood CA Robert Kotyk Toronto ON Rob Baker Toronto ON T.W. Linton Etobicoke ON Mike Bell Winnipeg MB Jillian Locke Toronto ON Tom Berger Toronto ON Kayla Lorette Toronto ON Katie Boland Toronto ON Darcy Michael Delta BC Max Burnett Sherman Oaks CA Brad Mirman Beverly Hills CA Adam Cawley Toronto ON Stuart Reid Toronto ON Nazrin Choudhury Encino CA Jeff Sager Toronto ON Adrian Cunningham Vancouver BC David Samuels Brooklyn NY Harper Dill Venice CA William J. Schneider Altadena CA Tim Doiron Toronto ON Charlie Shahnaian Los Angeles CA Xavier Dolan Montreal QC John Scott Shepherd Westlake Village CA Shelley Evans Cambridge MA Natalie Renee Shepherd Los Angeles CA Lisa Gabriele Toronto ON Shari Simpson Hoboken NJ Noelle Girard Toronto ON Ryan W. Smith Vancouver BC Ryan P. Guida Los Angeles CA Sindy Boveda Spackman Burbank CA Robyn Harding Vancouver BC Sarah Spillane Los Angeles CA Monica Heisey Toronto ON Robert Taylor Los Angeles CA Brandy Hewitt Toronto ON Dawn Whitwell Toronto ON Zoe Hopkins Ohsweken ON Amy Wolfram Burbank CA Carl Johann Peterborough ON Shebli Zarghami Toronto ON

Canadian animation is a national and international success story. Animation written by WGC members is sold and broadcast around the world.

FROM THE MINDS OF CANADIAN SCREENWRITERS TO THE WORLD. WRITERS HELPING WRITERS

Money for Missing Writers

The Writers Guild of Canada is holding monies for the writers listed below. The WGC has been unable to locate the writers and forward the money to them. If you have any information that would help us reach these writers (or their agents or estates), please contact the staff member indicated below. These writers would thank you.

IPA - contact Paul Caston at [email protected] Robin Herman — King of Kensington 1-800-567-9974 ext 5248 Paul Jodoin — Chez Hélène Arthur Murphy — G.M. Theatre: The Death Dawn Cumberbatch — Top Cops Around Us Elana Devine — Student Bodies Gordon Myers — Dr. Zonk and the Zunkins Warren Easton — Odyssey II Irving Gaynor Neiman (estate) — The Greatest Man in Gerald Fourier — Littlest Hobo the World John Hollard — Littlest Hobo James Taylor — Man Alive Robert Windsor — King of Kensington Unknown writer — The Nature of Things (Dutch Elm Disease) NFB - contact Paul Caston at [email protected] Unknown writer — Hand & Eye (Glorious Mud) 1-800-567-9974 ext 5248 Five unknown writers — CAPAC 50th Anniversary Show

Peter Bierman — Twice Upon a Time Mariette Cooke — Happiness Is Loving Your Teacher CBC - RADIO - contact Mary Young at [email protected] Gordon Fisher — Wild in the City 1-800-567-9974 ext 5236 Ian Ferguson — Canada’s Capital — Behind the Scenes Laszlo Gefin — Revolution’s Orphans Andrew Allan (estate) — Snow Queen, A Sense of Sin William Maylon — Journey of the Blob Ernst Behrendt — Quirks & Quarks Daniel Prouty — For Angela Tony Bell — Nightfall Josef Reeve — Canada Vignetes-NFLD Janet Bonellie — Nightfall Inger Smith — Wood Mountain Poems Martin Bronstein — Royal Canadian Air Farce Janos Szanyi — Revolution’s Orphans Neil Copeland — Between Ourselves: The Titanic Gilles Toupin — Cycling: Still the Greatest Norman Corwin — Theatre of Freedom Peter Vogler — Ernie’s Idea Dorothy Davis — Sign Unseen Frank Deaville — Woodhouse & Hawkins Ira Dilworth (estate) — Rime of the Ancient Mariner CBC-TV - contact Mary Young at [email protected] Ted Ferguson — A Perfectly Happy Life 1-800-567-9974 ext 5236 Harry E. Foster (estate) — The German World Howard Griffen — The Duel Fred Adams — King of Kensington Hugh Kemp — Stage 47: Two Solitudes Peter Churchill — 20/20: Yorkville Feb 16, 1967 Peter Lee — Nightfall Robert Cooper — This Land David Leicester — Nightfall Ronald Dunn — Wojeck Joseph MacEastern — Much Ado about Ronnie Donald Ettlinger — G.M. Theatre: Billy Budd Art McGregor — Woodhouse and Hawkins Mary Fowler — The Man at the Window Samuel Selvon (estate) — Vanishing Point Lindsay Galloway — Wojeck Henry Sobotka (estate) — Johnny Chase Geoffrey Gilbert (estate) — Sidestreet Frederick Spoerly — The Cable Car Incident

31 ADVICE

“Oh Great Scribe...” advice for the scriptlorn

By Harrington Gordonson

Noting that Canadian screenwriters were underserved despite the current proliferation in popular media of advice columns — and never one to let a bandwagon pass — Canadian Screenwriter has commissioned eminent screenwriter Harrington Gordonson as our own sage for seekers: sort of like Dan Savage for the folks who don’t get out as much.

Send questions to “Oh Great Scribe,” c/o Canadian Screenwriter ([email protected])

Harrison Gordonson is Canada’s happens! It’s also like when you on a website, social media mentions, Greatest Living Screenwriter. go to the fruit market and pick and the number of times a project An accomplished ice fisherman a random five apples out of the was able to move a cursed monkey’s by the age of three and shortstop bin, because you know they’ll paw in Telefilm’s Montreal HQ. At for Montreal Expos by age 14, his be the best ones. It also reflects the same time, they cut all support seminal audiobook, Give ’er, was the real world, where cops are for writer programs and declared the adapted in 1994 into the constitution all great because they only hire script was the most important thing. for an unnamed Central American good people. And cleverly, it even There was something new with country. He recently accepted mirrors where the industry was secret envelopes too, each of which 14,000 refugees into his own home, going anyway, because, as we all contained free samples of “Bureau- but you don’t hear him kicking up a know, since the number of outlets crat!”— a new fragrance that evokes fuss about it. He built a replacement to sell shows to shrank from six the delicate sweat of waiting to see if for Canada’s aging CF-18 fleet to four to three, that quality just your film gets into TIFF. out of old Mirvish programs and bubbled to the top like so much This “re-definition” proved pulped copies of Garth Drabinsky’s rendered porcine goodness. very “successful.” So taking a cue autobiography. He solves problems. Thanks for that quality from Hollywood (natch), Telefilm is question. I’m only reading the producing a reboot! “ReMatrixing Oh Great Scribe, good questions now and it’s made the Acclomplometer: The Synergistic Can you explain the CRTC’s me much happier. Thanks, JP! Sapporodom of Supplicanting Succo- “quality not quantity” argument? tash: A Telefilm Joint for 2016” (it’s Oh Great Scribe, even longer in French) comes into ef- A: The chairman of the CRTC, JP What the heck is going on with fect January 1, 2016. There’s a whole Blais, has hit upon a simple but Telefilm? bunch of market rationalizations and elegant solution to the continu- things but I’ll cut to the chase: Under ing challenges of making quality A: Ah yes, Telefilm, the place where the new plan, “success” is defined as Canadian TV in a changing world. the magic of film meets the lyricism “that thing that used to be failure.” He’s directed the networks and of accounting. Years ago, over cock- Sheer genius. producers to focus on making tails and fondue, Greatest Living Ca- I’m sure all those fine non- only quality shows. So, instead nadian Director and I pondered how union scripts that Telefilm now of making a lot of shows that fail, to fix Telefilm. A good many plans favours will continue to be made (or, you know, six…) from now on, involved elemental change. Specifi- into incredibly successful Canadian our industry should just put their cally, the application of the element films. Sorry, “Artisanal Digital Video money into making programs that of fire. But instead, Telefilm came Narrative Structure Matrixes.” See everyone likes. up with its own solution: it redefined you at the press conference! Picture yourself going success. The New Strategic Plan, through your ex’s vinyl collection. which had many glossy brochures Can we talk about tax credits? Really visualize it. Got it? Every made of hand-dusted artisanal record is awesome, right? Yes! resins, pooh-poohed box office for A: Absolutely. But first, pass me that Because that’s a thing that a combo of festival exposure, clicks Hemlock Smoothie.

32 CALENDAR

November

2 — Deadline — OMDC Film Fund omdc.ca 5-15 — Reel Asian Film Festival reelasian.com 12-22— Montreal International Film Festival ridm.qc.ca/en 17 — Writers Talking TV wgc.ca 17-22 — Canadian International TV Festival citf15.tv

December

1 — Deadline — WGC Screenwriting Awards nominations wgc.ca

February

2 — Deadline — Bell Fund, Production bellfund.ca 2 — Deadline — Bell Fund, Development bellfund.ca 3-5 — Prime Time in Ottawa primetimeinottawa.ca 9 — Writers Talking TV wgc.ca

March

13 — Canadian Screen Awards Broadcast Gala, CBC academy.ca 22 — Writers Talking TV wgc.ca IT'S TIME TO NOMINATE A SCRIPT! THE 20TH ANNUAL ★WGC SCREENWRITING AWARDS★ MAY 2, 2016 | KOERNER HALL, TORONTO CATEGORIES: ★CHILDREN★ ★DOCUMENTARY★ ★MOVIES & MINISERIES★ ★SHORTS & WEBSERIES★ ★TV COMEDY★ ★TV DRAMA★ ★TWEENS & TEENS★ SUBMIT ANIMATION ENTRIES TO THE APPROPRIATE CATEGORY.

VISIT WWW.WGC.CA FOR RULES AND NOMINATION FORM. DEADLINE: DEC. 1, 2015, 5:30 P.M. EST WWW.WGC.CA